The list is long, and lack of space limits my consideration to a few. First of all, let me pay tribute to that directorial triumvirate to whom, collectively and individually, Sadler’s Wells owes its existence and its superior place in the world of ballet in our time: Ninette de Valois, Frederick Ashton, and Constant Lambert. Lamentably, the triumvirate is now a duo, owing to the recent untimely passing of the third member. _NINETTE DE VALOIS_ I have more than once indicated my own deep admiration for Ninette de Valois and have sketched, as best I can, her tremendous contribution. In all my experience of artists, I have never known a harder worker, a more single-purposed practical idealist, a more concentrated and devoted human being. In addition to being the chief executive of Sadler’s Wells, burdened with the responsibility for two ballet companies and a school, she is a striking creator. Living with her husband-physician down in Surrey, she does her marketing before she leaves home in the morning for the Garden; travels up on the suburban train; spends long hours at her work; goes back to Surrey, often late at night, sometimes to prepare dinner, since the servant problem in Britain is acute; and has been known to tidy up her husband’s surgery for the next morning, before herself calling it a day. All this, day in and day out, is done with zest and vigor. An idealist she is and yet, at the same time, completely realistic. Without wishing to cast the remotest reflection on the feminine sex, I would say that Ninette de Valois has a masculine mind in her approach to problems artistic or business, and to life itself. She feels things passionately, and these qualities are apparent in everything she does. When her mind is made up, there is no budging her. In a less intelligent person this might be labelled stubbornness. Like the majority of English dancers, prior to her establishment of a British national ballet, she was brought up in the traditions of Russian ballet. But it should be remembered that she was the first one to break up the foundation of the Russian tradition, utilizing its richness to create an English national school. At Sadler’s Wells, in collaboration with Constant Lambert, she has devoted a great deal of attention to the music of our time, although this has never taken the form of any denial or repudiation of the tradition of the old Russian school--on the contrary, her work at Sadler’s Wells has been a continuation and development of that school, using the new to enrich the old.